The Sunset of Last Summer

Trevor Yeung

In “The Sunset of Last Summer,” Trevor Yeung’s solo exhibition at Blindspot Gallery, the artist shares a subtle biopic of his own past love affairs, as well as new reflections on his life. The combination of photographs, found objects, horticulture and sculpture creates a dynamic space indicative of Yeung’s mind and memory, and perhaps even stirs up a tug of yearning in his audience.

Yeung works meticulously; the botanical medium that lies at the heart of his work takes months to cultivate, and deep consideration is present in every aspect of his construction. The Cave (2016), a work that mimics the reception halls of Chinese banquets attended by Yeung in his youth, is comprised of three tabletops of varying heights set with black tablecloths and empty glassware that heightens the absence of guests. The black color of the tablecloths immediately gives a muted, chilled atmosphere, unlike the traditional Chinese cloth which is extravagant and festive. One table stands out as it hangs from the ceiling, its tablecloth cascading over the edge to create underneath it a sanctuary—a cave—removed from the staged social setting. Aside from wine glasses and bouquets set atop the tables, Yeung added his personal touch—flowers shredded by his own hands, the result of an anxious tick that would surface at these events. With this small personal token, Yeung has quietly manipulated a harmless, inviting communal environment into a scene of anxiety and unease.

The intimacy of The Cave is heightened through the experience of Music Box (Bedroom) (2016). The sound of running water and the airy buzz of LED lights precede the visual encounter with this piece, which is a fragment taken from Yeung’s own bedroom. Much like his past exhibition “Seven Gentlemen” (2012), where trees were personified and labeled as “gentlemen,” Music Box (Bedroom) shows Yeung’s immersive interest in botany and horticulture. The setting is tranquil; there is a bubbling of water, and the stillness of moss and rocks allows for a respite from daily life, just as Yeung retreats to his room to escape an anxiety-inducing world.

The namesake artwork of the exhibition, Last Summer Sunset (2016) combines themes of love, loss and unfettered reminiscence. An unlit candlestick is concealed in layers of congealed wax to illustrate how the artist himself is trapped by memories of past love affairs. Yeung has experienced warmth and light from many lovers—each represented by a melted candle—but a shell of cold, hard wax is all that remains now that those flames have burned out. Much like the rest of the exhibition, this piece feels layered with meaning and reflection: Yeung opens a dialog about how our memories mold us.

On the 15th floor of an industrial building, Yeung’s exhibition feels like a bespoke fit, a purpose-built shell that contains within it a private, intimate world. The gallery’s inherent starkness highlights the emotional intensity of the works. Yeung then transforms the space, using whitewash walls and natural light to encourage exploration and reflection. “The Sunset of Last Summer” is an intimate experience rooted in the complex entanglement of love, loss and anxiety.

“Trevor Yeung: The Sunset of Last Summer” is currently on view at Blindspot Gallery, Hong Kong, until November 19, 2016.